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In this journal I am taking the natural and artificial orders of art and virtuality as psychological colloids mapped to visual and movement morphemes of my own particular ordering process. The “strange loops” of the early consideration of artificial intelligence per Goedel Escher Bach, and the implications of Finnegan’s Wake inform my sense of the correlative dimensions of the motion sensor drawing to analytical functions as open potentials of the poiesis behind poetics.
As a cultural project then the sensibility proposes dedifferentiation and deterritorialization modes that separate from the indices which technology elaborates in order to ask whether the Structuralist project may be reconvened upon separation from such overdeterminations as do naturally accrue. The idea then is that limming or drawing takes the intutition of consciousness that the antique gesture of “sublime” proposed and re-cognise that towards the limmable in the sense of neologistic topologies which arrive not at the subliminal or sublime but rather the morphogenic.
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